The Wife of Bath; Object or Agent of Satire

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The Wife of Bath; Object or Agent of Satire The Wife of Bath is the most fully developed character in The Canterbury Tales and debated by many scholars as being either the object or the agent of satire. Is the Wife of Bath—Alisoun—making fun of stereotypes, or does she embody them? Perhaps there is a middle ground? An important thing to remember when asking questions such as these is that The Canterbury Tales was written in the late 14th century and thus pre-dates the views of the modern feminist movement. One may then say that any argument presented by a modern feminist attacking the Wife of Bath/Geoffrey Chaucer would obviously not be taking into account the affect of the common 14th century perspective on the subject of feminine independence; but I digress, perhaps the Wife of Bath's character is not meant for absolutists. In other words, just because she may posses some qualities of a “wicked” wife doesn't necessarily mean Chaucer is trying to portray her as the embodiment of all women; in fact, one might assume that the Wife of Bath's character is too developed for such an obvious connection. In Chaucer: Sources and Backgrounds, Geoffrey of Vinsauf explains description as “pregnant with words” and the amount of detail Chaucer's narrator puts on the Wife of Bath in both the Prologue to her Tale and the General Prologue makes her both complicated and easy for the reader to relate to. The reader is not perfect, and neither is the Wife of Bath. In fact, it could be argued that Alisoun is exactly what the medieval Church saw as a “wicked woman,” and she seems to be very much proud of the fact—not to say that she doesn't have plenty to say when justifying her lifestyle. In fact, she has a tendency to imitate the ways of churchmen and scholars by backing up her claims with quotations from the Bible—maybe even mockingly, though that is debatable. The Wife
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